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FTLBIT Model 4E

One single LTO-7 tape cartridge = 600 Terabyte's


1.92 Terabyte's per second sustained on 64 LTO-7 tape drives with FTLBIT
6.912 Petabyte's per hour sustained on 64 LTO-7 tape drives with FTLBIT
Scale from 3 LTO-7 tape drives table top to 64 LTO-7 tape drives Supercomputer
Multiplies Unlimited Satellite or Interstate Fiber Optic Line 100X Faster w/latency
Existing Lossless 2X - 4X + Compression = 200X to 400X + Lossless Compression

FTL (Faster Than Light) BIT (Binary Digit) is a lossless data compression computer
working with compressed video, video, text, image, music, and any files that have already been
compressed with the best compression programs possible. FTLBIT will then compress that file
100X further with no pattern sensitivity, and return with lossless performance.

For every single 1 bit transmitted over fibre optics, or any physical transmission system
running at the speed of light, another 99 bits will also arrive at the same exact time creating 100X
lossless compression at 99 percent FTL.

Model 4E is an independent computer system that communicates with existing computer


systems that have data storage, and or data transmission capability. The existing compressed files
on the existing computer systems can then be sent to the FTLBIT computer where they are further
compressed 100X. The files are given a dot .FTL extension, possibly stored on up to 64 LTO-7 tape
drives, or returned to the existing computer systems where they can be handled as any normal
compressed file.

The 100X compressed .FTL extension files on the 64 LTO-7 tape drives, or existing
computer systems tape, disc, disk, SSD, fibre channel, or any digital storage transmission system
can then be returned to the FTLBIT Model 4E computer, and expanded 100X back to the original
compression file with lossless performance. The 100X expanded original compression file is then
returned to the existing computer systems.

The FTLBIT Model 4E is designed for Enterprise, Cloud, HPC, and Supercomputer
applications. The Model 4E will work with existing compressed files on any typical existing
computer system without modification to any physical storage, or physical transmission hardware.

Large volume tape storage libraries that use LTO-7 (Linear Tape Open 7) have 6 Terabyte
of native storage per individual tape cartridge. The LTO-7 built in compression system of 2.5X will
not work with FTLBIT, as it does not work with existing compressed video files already. FTLBIT
Model 4E will store 100X more data, 100X faster on every single native LTO-7 cartridge. The same
performance is possible with disk, and SSD drives, although the massive sustained throughput of
the 64 LTO-7 tape drive FTLBIT is beyond most SSD storage array throughput capacity. FTLBIT
can scale with 64 LTO-7 tape drive increments.

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Existing compressed video files at 50 Mbs (Million bits per second) will store just over 10
days of video per LTO-7 cartridge. FTLBIT Model 4E will store 1000 days of video per LTO-7
cartridge, or just under 3 years of video without the other 99 LTO-7 cartridges.

FLTBIT is designed to work with existing LTO-7 hardware components, including drives,
and tapes. For simple comparison, if one LTO-7 tape cartridge cost $100.00 and will store 6
Terabyte's of raw data without internal compression, FLTBIT will increase that storage 100X to
600 Terabyte's of raw data without the LTO-7 internal compression, read and write 100X faster,
and replace the need for another 99 tape cartridges at a cost of $9,900.00, with another possible
optional 99 tape drives costing $5,000.00 to $10,000.00 each.

Each LTO-7 tape cartridge requires 5 hours 50 minutes to write a complete 6 Terabyte's of
raw data without internal compression. With one LTO-7 tape drive, and 100 LTO-7 tapes this
would require well over 24.3+ days of current compressed video data to equal the storage rate of
one single FLTBIT LTO-7 tape cartridge. The FLTBIT Model 4E will achieve current 24+ days of
current compressed video data in 5 hours 50 minutes, with a worst case current compression latency
of less than 6 hours per cartridge, totaling less than 12 hours per one single LTO-7 tape cartridge
compared to 24+ days with 100 LTO-7 tape cartridges.

Hatch Secure Processor


The Hatch Secure Processor, called so because it is similar to a submarine hatch that is
secured for water tight integrity, the Hatch Secure Processor can not be reverse engineered by all
the supercomputers in the world working together to defeat the secure data integrity once the hatch
is secured.

A non-published dynamic changing instruction set, combined with a non-published


dynamic changing computer architecture makes it possible to mass produce the trade secret that is
FLTBIT. The physical hardware is available for reverse engineering, however the number of bits
per word could be anywhere from 8 to 800,000+. Always changing, and never pattern sensitive, the
Hatch Secure Processor is also designed to be evasive.

FLTBIT Model 4E is equipped with black boxes that secure the computer to United States
of America territory only. The Hatch Secure Processor is currently located inside of the black
boxes. It is possible to secure the data stored inside the FLTBIT LTO-7 cartridge so that it can only
be read by one single FLTBIT Model 4E, specific FLTBIT Model 4E's, or any FLTBIT Model 4E.

Quantity eight Hewlett Packard Enterprise Proliant Model DL580 Gen-9 servers with
possible free upgrade to Gen-10 from HPE when available are currently targeted for use as interface
to the customer IT, they also support conversion of files to large scale data sets that are then sent to
the Hatch Secure Processor located in the black boxes. Eight server boxes allow higher
performance, and fault tolerant double failure for 24 hour continuous duty cycle. The preferred
fibre channel boards, although almost any standard interface will work, then connect to the 64
LTO-7 tape drives, or library controller without any hardware modification.

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At this time the physical dimensions fit inside a standard 48U server rack, other than the
optional 4k monitors, for manual status, and control.

Scale from 3 LTO-7 tape drives table top to 64 LTO-7 tape drives Supercomputer
Table Top with 3 LTO-7 tape drive applications

Photo Journalist, and 8K Movie producers can now use RAW mode on the camera's to store
extra detail that typically allows more editing options, while also retrieving the lost detail of typical
lossy compression built into the camera. The typical long term economic decision of quality
compromise created by expensive memory cartridges can be offset by the 100X compression of
FTLBIT. One typical LTO-7 tape cartridge costing $100.00 with FTLBIT, now replaces 100
typical LTO-7 tape cartridge's costing $10,000.00.

The table top system allows triple redundant storage with one on-site storage, with two
separate physical locations far apart of redundant storage. Just three FTLBIT cartridges can be
duplicated with the 3 LTO-7 tape drives, and sent to separate physical locations with a total of nine
FTLBIT LTO-7 tape cartridges. Those nine FTLBIT LTO-7 tape cartridges replace exactly nine
hundred current LTO-7 tape cartridges, that would have cost approximately $90,000.00+.

Each LTO-7 tape cartridge requires 5.5 hours to write, along with the latency of 6 possible
hours for FTLBIT computer calculations. Because 3 LTO-7 tape drives allow duel concurrent
duplication of the original as it is created, the total time for one onsite location cartridge, and two far
away offsite location cartridges is 5.5 hours write time, with 6 hours latency, or approximately 12
hours total. The nine cartridges required for three original FTLBIT LTO-7 tape cartridges with two
far away locations is approximately 36 hours.

With current LTO-7 tape cartridges the same amount of data and drives need 300 tape
cartridges, and would require 5.5 hours to write each, with two redundant tape cartridges for far
away locations for a total of 900 tape cartridges. This would then have to occur another 99 times for
a total of 5.5 hours X 100 = 550 hours minimum, or just under 23 days to create 900 cartridges
without FTLBIT.

This example is between 3 FTLBIT LTO-7 original tape cartridges, and the 300 LTO-7 tape
cartridges required without FTLBIT lossless compression. Two redundant tape cartridges for each
original, and the 3 FTLBIT LTO-7 original tape cartridges turn int 9 required. The 300 LTO-7 tape
cartridges required without FTLBIT lossless compression turn into 900.

The small FTLBIT Model 4E begins with the ability to drive 3 LTO-7 tape drives onboard
or remote, two Hewlett Packard Enterprise Proliant Model DL580 Gen-9 servers with possible free
upgrade to Gen-10 from HPE when available for fault tolerant 24 hours per day duty cycle, and the
physical dimensions of a half size server rack.

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Scale from 3 LTO-7 tape drives table top to 64 LTO-7 tape drives Supercomputer
Midrange with 9 - 32 LTO-7 tape drive applications

Large infrastructure security systems for Large Office buildings, Banks, Big Box stores,
Casinos, Airports, [to be continued]

MUSIC INDUSTRY
FTLBIT is a major component to Singing Wind Audio music industry products. The
original sourced continuous analog electronic waveform is ordinate to all sub-ordinate discrete
digital sampled electronic waveforms of any existing digital format currently in use.

At any time the original sourced continuous analog electronic waveform can generate the
most accurate digital sampled electronic waveforms of any existing digital format currently in use.
However any existing digital format currently in use can never recreate the original sourced
continuous analog electronic waveform.

Singing Wind Audio is creating a Numerical Analog Converter to replace the current
Digital Analog Converter used in most music industry recordings today. The Numerical Analog
Converter is only possible with Analog Computers fore, and aft of the continuous numerical
representation generated for digital computers. Once in Numerical Analog Conversion, the music
can be manipulated with modified Digital Audio Workstations that support NAC, and have all the
benefits of DAC now. However the NAC is needed by the analog computer at the aft end of true
continuous analog electronic waveform regeneration for playback.

This allows true analog signal regeneration never before possible, equal or exceeding the
performance of $100,000.00 plus DAC converters in use now, for much less money, creating a
consumer level product.

The FTLBIT is necessary because of the extreme data volumes requirements of the NAC.
The FTLBIT allows hundreds, and thousands of channels necessary for the future Bell Tower home
theater product. The recording industry can at any time convert the mass channel storage NAC into
any conventional DAC format with no loss in quality.

The NAC is non-over sampling, no digital filter, and no digital filter phase distortion, no
pre-ringing, and no post-ringing, with no filter "sound" added. Any signal control desired can be
obtained without traditional filtering, analog or digital. Signal control is possible in the fore Analog
Computer, Digital Audio Workstation, and aft Analog Computer.

No expensive ultra precision absolute accuracy resistors are used, because nothing in audio
is ultra precision with absolute accuracy. No resistor ladder DAC of any kind is used. The Analog
Computers fore, and aft handle signal conversion generation.

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Microphone's are optional, as both direct signal generation, and retro-generation of
previously recorded music is designed for the six dimensional audio of Singing Wind Audio. The
same components designed for the home theater, are also used in the recording studio.

The signal is self calibrating for true repeatability, reducing the system cost of components
by tens of thousands of dollars. The NAC audio system is designed for mass production, creating a
wide range of consumer affordable products, under hundreds of thousands of dollars.

The Singing Wind Audio Sub-Space Satellite data is included below.

James Lee McDaniel

Codex Grandeur L.L.C.

www.ftlbit.com

email-001@ftlbit.com

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SingingWind.
Sub-Space Satellite
MUSIC IS NOT TELECOMMUNICATIONS. Misapplied telecommunications theory,
where sine waves are generated at location A and transmitted to location B for the purpose of
communication has been justification for the major FAILURE of music storage, and reproduction.
The perception that detecting, and recording the discrete sampled frequency, automatically
records all the music detail is not accurate. Almost always with the excuse that a human will never
hear the difference. The microphone electrical continuous analog signal output is not limited to
generating sine waves. Instrument Quality music is NOT generated from sine waves. The minimum
two frequency discrete sampling rate to detect sine waves in telecommunications for digital
recording and transmission reconstruction does not apply in Instrument Quality music storage
where the missing detail from minimum two frequency discrete sampling does matter, and is
currently misapplied in the music industry. The continuous analog signal has simultaneous infinite
bit resolution, and infinite sampling rate. The analog signal can always be downgraded to any
discrete digital sampling rate, and any bit resolution, however no discrete digital sampling rate, and
no bit resolution can ever recreate the original continuous analog signal.

Frequency based music is missing detail produced from physical music instruments. This is
not obvious to humans that believe if their ears do not detect the frequency, it does not matter.
Subsonic and supersonic atmospheric modulation does occur with physical music instruments,
directly interacting within that physical instrument, and other surrounding musical instruments.
The interaction of many musical instruments creates details currently missing in recordings, and
difficult or impossible to recreate with the current music architecture. One signal line for left, and
one signal line for right, surround, and even immersive sound architecture with one signal line per
channel is well below the minimum requirement to achieve Instrument Quality.

"Sub-Space is a space which forms a proper subset of some larger space", applied here with
a Satellite communications concept, we create, or recreate the music instruments in the home, or
home theater with Instrument Quality Music, and not just a sound of music. Sub-Space Satellite
output signals will reproduce the atmospheric modulation as existing physical music instruments
do, and create new future physical instruments with Instrument Quality performance. The future six
dimension atmospheric modulators will be required, however existing voice coil motors, and other
technologies called speakers will also be enhanced with the current Sub-Space Satellite signals.

Well meaning telecommunication scientist have determined that there is an entropy rate for
data compression. They have been interpreted to mean that in no way, shape, or form, can data be
accurately compressed below a certain binary digit compaction without losing integrity. It has been
called a Law. The only thing that those well meaning scientist have proven is what they could not
do.

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Singing Wind Audio Sub-Space Satellite is a consumer electronic product designed for
Ultra-Fidelity music, equal or greater than 200db dynamic range, and 200khz frequency analog
only audio per channel without any discrete digitization.

A modular multiple of One Thousand Twenty Four infinite bit resolution continuous
numerical analog signals are provided for both the left and right stereo audio positions. This is only
possible with a fast analog computer fore, and aft each fiber optic line to the atmospheric
modulators.

Five Hundred Twelve on each of the two positions, left and right, are separated into
volume, signal, dynamic resonator 1, and dynamic resonator 2 infinite bit resolution continuous
numerical analog signals. One Hundred Twenty Eight complete separated audio channels for
each left, and right position.

This provides a total for left and right positions of Seven Hundred Sixty Eight infinite bit
resolution continuous numerical analog signals of music signal with dynamic resonator 1, and
dynamic resonator 2 driving atmospheric modulator analog servos. Box Car Hobo digital bits are
available for low frequency actuation in the thousands per second.

With the FTLBIT compression system, this performance is dynamic internet streaming
capable down to CD bit rates with digital music, and some what higher with NAC analog music.

The Ninety Six channels replace the now current two channels for stereo. A Fifty dollar
stereo music system typically uses the very same music content source as a Two Million dollar
stereo music system. The music is typically edited towards the lower cost stereo music systems,
making it difficult to achieve a better sound with existing very expensive music systems.

The Nighty Six channels allow existing music technology to produce waveforms in the
atmosphere that are not possible with only Two channels for both left and right. Current surround
sound, and immersive sound used for theater applications, are literally simply more of the same or
less meaning One signal per channel dispersed in a semi-cylindrical, or semi-hemispherical
physical location. Currently no attempt is made in any way, shape, or form to improve music
quality, other than more of the same old signal technology heading for 100 years old, that is now
simply digitized.

Every single one of the Ninety Six channels used for Instrument Quality Ultra-Fidelity
music recording, and generation is superior to any recorded music format on planet earth. The
design is focused toward finite subtle detail not possible to record with one signal source per
channel, then the discrete digital sample, no matter how processed, is always inferior to an infinite
bit resolution continuous numerical analog signal with fast analog computer fore, and aft.

Instrument Quality Ultra-Fidelity music recordings are dramatically different from Two
channel stereo recordings, and will NOT require experts to discern the benefit. Lower cost existing
music amplifiers, and speakers can be used to out perform a Two Million dollar stereo music
system limited by current two channel stereo content source, for much less money.

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Musicians can record Instrument Quality Ultra-Fidelity masters that sell for much more
money, and with no extra recording effort will be able to support ANY, and ALL existing digital
recording formats. A 100% pure original analog signal can always be converted to any existing or
future digital format, however no digital format can ever be converted back to the original 100%
pure original analog signal. The Numerical Analog Converter (NAC) is not simply another
digital format, and does require Analog Computers fore and aft.

Every customer does need to own their own Singing Wind Audio Sub-Space Satellite music
compatible system providing Ninety Six music signals verses only Two for left, and right channels.
Musicians maintain complete control with the built-in Hatch Secure Processor, included to protect
the integrity, and trade-secret One Hundred times lossless music compression system. The Hatch
Secure Processor is designed to defeat all existing Supercomputer High Performance Computer
Arrays in the world working together.

Each customer has their own unique bit pattern recording that will only play on their unique
Sub-Space Satellite. Millions of illegal copies stolen from the internet can only be played on that
one single customer Sub-Space Satellite. Because each bit pattern recording is unique, a single
defeat of one recording does not unlock any other Sub-Space Satellite recordings.

Musicians can include personalized signatures, live recordings, requested performances for
single, or group customers. Profit margins approaching live tour performances are possible without
the overhead, stress and time constraints.

The Instrument Quality Ultra-Fidelity music signal is designed to support our future
compatible six-dimension music system, X,Y,Z, Rotate-X, Rotate-Y, and Rotate-Z with dynamic
resonators. We are beginning with conventional amplifier, and speaker systems simply removing
all crossover networks, active or passive. This also allows very low cost complete systems that
really do exceed multi-million dollar stereo systems.

Our future six-dimensional components will attach to the Sub-Space Satellite without
modification, or extra cost when ready in the future. Six dimensional components are extra.

The Sub-Space Satellite studio recording system records, and repeats 100 percent analog
music signal waveforms directly from the recording studio, tape, vinyl, or microphones. Fast
analog computers are used in the recording system to create infinite continuous numerical
functions, with infinite bit resolution, and no compression that are stored, edited, and
communicated in digital computers, then sent from the digital computers to fast analog computers
located at or near the speakers for 100 percent reconstruction of the pure analog signal.

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Instrument Quality music recording begins with recording a left, and right channel stereo,
however a minimum of six sets of sub-woofer, woofer, mid-range, and tweeter combinations on the
left, and right channels also resulting in 12 X 4 = 24 separated line level signal outputs for left
channel, and 24 separated line level signal outputs for the right channel Because there are no rails
involved, that number doubles with separated volume line level outputs to 96 separated line signal
line level outputs for stereo. Each one of the 96 individual channels is a full frequency 32 bit,
3,072,000 sample per second digital equivalent look down compatible to existing music storage,
however each line is a 100 percent NAC pure analog. Active cross-talk without cancellation, active
dynamic modal resonance chambers, flying deflector channels are also included. The Sub-Space
Satellite is modular for future expansion to support our future six dimensional music.

Each one of the individual 48 line level outputs has a separated volume, and dynamic
resonator line level output. The signal line is 100 percent signal only, with no volume included.
This allows great freedom in both editing, mixing, and even at the customer playback option, of
separating individual notes from individual instruments, single instruments, or multiple
instruments for enhancement, or complete elimination from the presentation. A numerical model is
also included that allows music generation without recording of any kind in the Numerical Analog
Converter (NAC) that is used to record 100 percent pure analog. This can be used in the mixing,
editing, customer playback, or music creation process. Previous microphone placement requiring a
compressor is no longer necessary because of the elimination of all rails. Very minute instrument
detail can now be recorded without compromise.

Before now, typical two channel stereo line level outputs are at some point sent through a
crossover network, passive or active that separate the frequencies typically into sub-woofer,
woofer, mid-range, and tweeter separated outputs, then sent to an amplifier of many different kinds
before or after. Two stereo lines go through eight separate frequency filters or more after the line
outs before reaching the transducers. Many more filters are used in the recording process, editing,
mastering, and playback electronics both digital and analog. Both digital and analog filters are
almost ubiquitous. Attempts to fix the existing system will not solve the problem, including
compressors necessary to keep the signals inside the rails, along with critical microphone
positioning necessary to keep the signal inside the rails.

The Numerical Analog Converter (NAC) unlike Digital Analog Converter (DAC) does
not require rails, compression, expensive low jitter clocking systems, expensive external power
supplies, very expensive electrical cables or wireless radio frequencies. No analog or digital
filters are required at any stage, which has been proven to be a primary source of non-intentional
distortion. No dithering, gap filling, bandpass, noise shaping, or digital reconstruction filters
are necessary. It is not that they are simply left out of the design to be compensated for in other
components down the signal chain later, they are specifically designed out of the NAC with full
intention.

Any Digital Audio Workstation (DAW) can easily be modified to work with the NAC
numerical format. Sub-Space Satellite can easily work with almost any existing recording format,
with no immediate attempt to improve existing recordings. A future not-yet ready program of
Retro-Generation is built into the architecture that will completely recreate existing recordings into
live six dimensional output. It does require a minimum of Sub-Space Satellite performance.

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100 percent pure analog signals do not require ultra precision clocking, and very little high
precision anything, allowing a much lower electronic component overhead, and more importantly a
lower cost platform. The need for Titanium this, Beryllium that, and Nano everything else is only
necessary when one speaker is trying to reproduce one frequency range for the entire different
instrumentation of a complete symphony including the concert hall grand piano. The same is
accurate for microphones, where performance is relaxed when more units are used across a
complete symphony including the concert hall grand piano. Not only is it very expensive to attempt
very limited microphone coverage of complex sources, it is also very difficult. It is typically not
even possible.

A 100% pure original analog signal can always be converted to any existing or future digital
format, however no digital format can ever be converted back to the original 100% pure original
analog signal. The NAC is not simply another digital format, and does require analog computers
fore and aft.

Beginning with six separated speakers in each frequency range of sub-woofer, woofer,
midrange, and tweeter resulting in 24 speakers for the left, and 24 speakers for the right channel
only, with no attempt at surround, or immersive sound of any kind, improve the signal to noise ratio
dramatically, and reduce the absolute performance necessary for each speaker which will lower
overall cost. A Sub-Space Satellite sound generation is possible that is not possible with any 2
million dollar stereo system that is driven by the same two line level outputs as a 50 dollar stereo
system.

In a world that has trouble streaming stereo PCM 24 bit, 192,000 sample per second
lossless, streaming or even simple downloads of stereo PCM 96 channel 32 bit, 3,072,000 samples
per second lossless equivalent does appear to be ambitious. Even when bandwidth is not a problem,
there is no practical security to prevent near master quality copies made without permission, and
widely distributed for profit of the thief only. Musicians are currently being starved when payed
0.0001 penny per play average, or less with no consideration to length or quality of content.

These two problems including scale of digital storage, and Digital Rights Management
(DRM) are solved with the FTLBIT, 100 times lossless digital compression, and Hatch Secure
Processor, individual customer custom secure architecture.

The Sub-Space Satellite is connected to the Singing Wind Audio web-site where the music
purchased is coded for each and every customers Hatch Secure Processor. The music is specifically
coded for that one single customers Sub-Space Satellite only. It is possible for the content owner to
allow limited free playback prior to purchase. Anyone can intercept, copy, and distribute the coded
music anywhere, at any time. No monitoring or lawsuits are required. The music can only be played
with that one single Sub-Space Satellite Hatch Secure Processor. Different programs are available
to allow infrequent migration for the customer ownership with authorization from the musician.
This will allow a much higher initial purchase price when the customer has a choice.

Because of the Instrument Quality recordings being dramatically superior in playback, the
difference will be worth paying money for. It will not require a music savant to experience the
difference between existing technologies, and Instrument Quality music recordings.

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My personal goal is to eliminate the disappointment of a Master musician that is, or should
be disturbed after listening to existing technology playback. The sound currently played back is
more often than not less than what went in, without serious editing. Then after serious editing, it
seems to be altered in a way that supports the strengths of existing technology, at a cost of very fine
subtle detail that did not survive.

The large number of analog signal line outputs for stereo is specifically required to support
active cross-talk without cancellation, active dynamic modal resonance chambers, flying
deflectors, and other to be announced Instrument Quality details that are not possible with simply
two signal lines for stereo. There is no possibility of surround sound, or immersive sound with one
signal line per channel ever achieving Instrument Quality.

James Lee McDaniel

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